10 Classic German Expressionist Films: From Nosferatu to The Cabinet of Dr. Caligari

In 1913, Ger­many, flush with a new nation’s patri­ot­ic zeal, looked like it might become the dom­i­nant nation of Europe and a real rival to that glob­al super­pow­er Great Britain. Then it hit the buz­z­saw of World War I. After the Ger­man gov­ern­ment col­lapsed in 1918 from the eco­nom­ic and emo­tion­al toll of a half-decade of sense­less car­nage, the Allies forced it to accept dra­con­ian terms for sur­ren­der. The entire Ger­man cul­ture was sent reel­ing, search­ing for answers to what hap­pened and why.

Ger­man Expres­sion­ism came about to artic­u­late these lac­er­at­ing ques­tions roil­ing in the nation’s col­lec­tive uncon­scious. The first such film was The Cab­i­net of Dr. Cali­gari (1920), about a malev­o­lent trav­el­ing magi­cian who has his ser­vant do his mur­der­ous bid­ding in the dark of the night. The sto­ry­line is all about the Freudi­an ter­ror of hid­den sub­con­scious dri­ves, but what real­ly makes the movie mem­o­rable is its com­plete­ly unhinged look. Marked by styl­ized act­ing, deep shad­ows paint­ed onto the walls, and sets filled with twist­ed archi­tec­tur­al impos­si­bil­i­ties — there might not be a sin­gle right angle in the film – Cali­gari’s look per­fect­ly mesh­es with the nar­ra­tor’s dement­ed state of mind.

Sub­se­quent Ger­man Expres­sion­ist movies retreat­ed from the extreme aes­thet­ics of Cali­gari but were still filled with a mood of vio­lence, frus­tra­tion and unease. F. W. Mur­nau’s bril­liant­ly depress­ing The Last Laugh (1924) is about a proud door­man at a high-end hotel who is uncer­e­mo­ni­ous­ly stripped of his posi­tion and demot­ed to a low­ly bath­room atten­dant. When he hands over his uni­form, his pos­ture col­laps­es as if the jack­et were his exoskele­ton. You don’t need to be a semi­ol­o­gist to fig­ure out that the doorman’s loss of sta­tus par­al­lels Germany’s. Fritz Lang’s M (1931), a land­mark of ear­ly sound film, is the first ser­i­al killer movie ever made. But what starts out as a police pro­ce­dur­al turns into some­thing even more unset­tling when a gang of dis­tinct­ly Nazi-like crim­i­nals decide to mete out some jus­tice of their own.

Ger­man Expres­sion­ism end­ed in 1933 when the Nazis came to pow­er. They weren’t inter­est­ed in ask­ing uncom­fort­able ques­tions and viewed such dark tales of cin­e­mat­ic angst as unpa­tri­ot­ic. Instead, they pre­ferred bright, cheer­ful tales of Aryan youths climb­ing moun­tains. By that time, the movement’s most tal­ent­ed direc­tors — Fritz Lang and F.W. Mur­nau — had fled to Amer­i­ca. And it was in Amer­i­ca where Ger­man Expres­sion­ism found its biggest impact. Its stark light­ing, grotesque shad­ows and bleak world­view would go on on to pro­found­ly influ­ence film noir in the late 1940s after anoth­er hor­rif­ic, dis­il­lu­sion­ing war. See our col­lec­tion of Free Noir Films here.

You watch can 10 Ger­man Expres­sion­ist movies – includ­ing Cali­gari, Last Laugh and M — for free below.

  • Nos­fer­atu — Free — Ger­man Expres­sion­ist hor­ror film direct­ed by F. W. Mur­nau. An unau­tho­rized adap­ta­tion of Bram Stok­er’s Drac­u­la. (1922)
  • The Stu­dent of Prague — Free — A clas­sic of Ger­man expres­sion­ist film. Ger­man writer Hanns Heinz Ewers and Dan­ish direc­tor Stel­lan Rye bring to life a 19th-cen­tu­ry hor­ror sto­ry. Some call it the first indie film. (1913)
  • Nerves — Free — Direct­ed by Robert Rein­ert, Nerves tells of “the polit­i­cal dis­putes of an ultra­con­ser­v­a­tive fac­to­ry own­er Herr Roloff and Teacher John, who feels a com­pul­sive but secret love for Rolof­f’s sis­ter, a left-wing rad­i­cal.” (1919)
  • The Cab­i­net of Dr. Cali­gari — Free — This silent film direct­ed by Robert Wiene is con­sid­ered one of the most influ­en­tial Ger­man Expres­sion­ist films and per­haps one of the great­est hor­ror movies of all time. (1920)
  • Metrop­o­lis — Free — Fritz Lang’s fable of good and evil fight­ing it out in a futur­is­tic urban dystopia. An impor­tant clas­sic. An alter­nate ver­sion can be found here. (1927)
  • The Golem: How He Came Into the World — Free — A fol­low-up to Paul Wegen­er’s ear­li­er film, “The Golem,” about a mon­strous crea­ture brought to life by a learned rab­bi to pro­tect the Jews from per­se­cu­tion in medieval Prague. Based on the clas­sic folk tale, and co-direct­ed by Carl Boese. (1920)
  • The Golem: How He Came Into the World — Free — The same film as the one list­ed imme­di­ate­ly above, but this one has a score cre­at­ed by Pix­ies front­man Black Fran­cis. (2008)
  • The Last Laugh Free — F.W. Mur­nau’s clas­sic cham­ber dra­ma about a hotel door­man who falls on hard times. A mas­ter­piece of the silent era, the sto­ry is told almost entire­ly in pic­tures. (1924)
  • Faust — Free - Ger­man expres­sion­ist film­mak­er F.W. Mur­nau directs a film ver­sion of Goethe’s clas­sic tale. This was Mur­nau’s last Ger­man movie. (1926)
  • Sun­rise: A Song of Two Humans — Free — Made by the Ger­man expres­sion­ist direc­tor F.W. Mur­nau. Vot­ed in 2012, the 5th great­est film of all time. (1927)
  • M — Free — Clas­sic film direct­ed by Fritz Lang, with Peter Lorre. About the search for a child mur­der­er in Berlin. (1931)

For more clas­sic films, peruse our larg­er col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Metrop­o­lis Restored: Watch a New Ver­sion of Fritz Lang’s Mas­ter­piece

Fritz Lang’s “Licen­tious, Pro­fane, Obscure” Noir Film, Scar­let Street (1945)

Free: F. W. Murnau’s Sun­rise, the 1927 Mas­ter­piece Vot­ed the 5th Best Movie of All Time

Watch Nos­fer­atu, the Sem­i­nal Vam­pire Film, Free Online (1922)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

 

Muhammad Ali Gives a Dramatic Reading of His Poem on the Attica Prison Uprising

In July of 1972, box­er Muham­mad Ali trav­eled to Dublin to fight Alvin ‘Blue’ Lewis, an ex-con from Detroit. In the days lead­ing up to the bout, he amused him­self by bust­ing on Fight of the Cen­tu­ry vic­tor Smokin’ Joe Fra­zier from afar, refer­ring to him on live tele­vi­sion as a “tramp” and a “slave” who lived on a “chick­en plan­ta­tion.”

It was a career defin­ing encounter for inter­view­er Cathal O’Shan­non, who praised Ali’s deft­ness in that area and not­ed that the champ said things “he would not have been able to say in Amer­i­ca.”

It’s doubt­ful that O’Shannon was refer­ring to the name call­ing, part of Ali’s cam­paign to draw Fra­zier back into the ring. (The champ got his wish less than two years lat­er, when he defeat­ed Fra­zier at Madi­son Square Gar­den in the sec­ond of their three fights.)

What’s more like­ly is that O’Shannon was allud­ing to the orig­i­nal poem Ali recites from mem­o­ry, one minute into clip above, after ori­ent­ing Irish view­ers to the pre­vi­ous fall’s Atti­ca Prison upris­ing, still the dead­liest in U.S. his­to­ry.

Ali imag­ines him­self in the shoes of a black pris­on­er, respond­ing to the white war­den issu­ing a final ulti­ma­tum. His reply, which could be tak­en as a call to arms , but which Ali touch­ing­ly calls a “poet­ic poem,” takes the form of a dozen ter­cets:

Bet­ter far from all I see

To die fight­ing to be free

What more fit­ting end could be?

Bet­ter sure­ly than in some bed

Where in bro­ken health I’m led

Lin­ger­ing until I’m dead

Bet­ter than with prayers and pleas

Or in the clutch of some dis­ease

Wast­ing slow­ly  by degrees

Bet­ter than of heart attack 

Or some dose of drug I lack 

Let me die by being Black 

Bet­ter far that I should go 

Stand­ing here against the foe 

Is the sweet­er death to know 

Bet­ter than the bloody stain 

On some high­way where I’m lain 

Torn by fly­ing glass and pane 

Bet­ter call­ing death to come

Than to die anoth­er dumb

Mut­ed vic­tim in the slum

Bet­ter than of this prison rot

If there’s any choice I’ve got

Kill me here on the spot

Bet­ter far my fight to wage

Now while my blood boils with rage

Lest it cool with ancient age

Bet­ter vow­ing for us to die

Than to Uncle Tom and try

Mak­ing peace just to live a lie

Bet­ter now that I say my sooth

I’m gonna die demand­ing truth

While I’m still akin to youth

Bet­ter now than lat­er on

Now that fear of death is gone

Nev­er mind anoth­er dawn.

The poem draws to a close with an inex­pert but heart­felt sound effect.

The poet — whose mater­nal great-grand­fa­ther was born in Coun­ty Clare — went on to knock out his oppo­nent in the 11th round.

The trail­er for the doc­u­men­tary, When Ali Came to Ire­land, fea­tur­ing Cathal O’Shan­non, is below.

More poet­ry read­ings can be found in our col­lec­tion of Free Audio Books.

Relat­ed Con­tent:

Muham­mad Ali Plans to Fight on Mars in Lost 1966 Inter­view

Mal­colm X, Debat­ing at Oxford, Quotes Shakespeare’s Ham­let (1964)

Mail­er on the Ali-Fore­man Clas­sic

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Leonardo Da Vinci’s To Do List (Circa 1490) Is Much Cooler Than Yours

da vinci todo list

Most people’s to-do lists are, almost by def­i­n­i­tion, pret­ty dull, filled with those quo­tid­i­an lit­tle tasks that tend to slip out of our minds. Pick up the laun­dry. Get that thing for the kid. Buy milk, canned yams and kumquats at the local mar­ket.

Leonar­do Da Vin­ci was, how­ev­er, no ordi­nary per­son. And his to-do lists were any­thing but dull.

Da Vin­ci would car­ry around a note­book, where he would write and draw any­thing that moved him. “It is use­ful,” Leonar­do once wrote, to “con­stant­ly observe, note, and con­sid­er.” Buried in one of these books, dat­ing back to around the 1490s, is a to-do list. And what a to-do list.

NPR’s Robert Krul­wich had it direct­ly trans­lat­ed. And while all of the list might not be imme­di­ate­ly clear, remem­ber that Da Vin­ci nev­er intend­ed for it to be read by web surfers 500  years in the future.

[Cal­cu­late] the mea­sure­ment of Milan and Sub­urbs

[Find] a book that treats of Milan and its church­es, which is to be had at the stationer’s on the way to Cor­du­sio

[Dis­cov­er] the mea­sure­ment of Corte Vec­chio (the court­yard in the duke’s palace).

[Dis­cov­er] the mea­sure­ment of the castel­lo (the duke’s palace itself)

Get the mas­ter of arith­metic to show you how to square a tri­an­gle.

Get Mess­er Fazio (a pro­fes­sor of med­i­cine and law in Pavia) to show you about pro­por­tion.

Get the Brera Fri­ar (at the Bene­dic­tine Monastery to Milan) to show you De Pon­deribus (a medieval text on mechan­ics)

[Talk to] Gian­ni­no, the Bom­bardier, re. the means by which the tow­er of Fer­rara is walled with­out loop­holes (no one real­ly knows what Da Vin­ci meant by this)

Ask Benedet­to Poti­nari (A Flo­ren­tine Mer­chant) by what means they go on ice in Flan­ders

Draw Milan

Ask Mae­stro Anto­nio how mor­tars are posi­tioned on bas­tions by day or night.

[Exam­ine] the Cross­bow of Mas­tro Gian­net­to

Find a mas­ter of hydraulics and get him to tell you how to repair a lock, canal and mill in the Lom­bard man­ner

[Ask about] the mea­sure­ment of the sun promised me by Mae­stro Gio­van­ni Francese

Try to get Vitolone (the medieval author of a text on optics), which is in the Library at Pavia, which deals with the math­e­mat­ic.

You can just feel Da Vinci’s vora­cious curios­i­ty and intel­lec­tu­al rest­less­ness. Note how many of the entries are about get­ting an expert to teach him some­thing, be it math­e­mat­ics, physics or astron­o­my. Also who casu­al­ly lists “draw Milan” as an ambi­tion?

Leonardo da Vinci exhibition

Lat­er to-do lists, dat­ing around 1510, seemed to focus on Da Vinci’s grow­ing fas­ci­na­tion with anato­my. In a note­book filled with beau­ti­ful­ly ren­dered draw­ings of bones and vis­cera, he rat­tles off more tasks that need to get done. Things like get a skull, describe the jaw of a croc­o­dile and tongue of a wood­peck­er, assess a corpse using his fin­ger as a unit of mea­sure­ment.

On that same page, he lists what he con­sid­ers to be impor­tant qual­i­ties of an anatom­i­cal draughts­man. A firm com­mand of per­spec­tive and a knowl­edge of the inner work­ings of the body are key. So is hav­ing a strong stom­ach.

You can see a page of Da Vinci’s note­book above but be warned. Even if you are con­ver­sant in 16th cen­tu­ry Ital­ian, Da Vin­ci wrote every­thing in mir­ror script.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Thomas Edison’s Huge­ly Ambi­tious “To-Do” List from 1888

Watch Leonar­do da Vinci’s Musi­cal Inven­tion, the Vio­la Organ­ista, Being Played for the Very First Time

The Anatom­i­cal Draw­ings of Renais­sance Man, Leonar­do da Vin­ci

An Ani­mat­ed His­to­ry Of Avi­a­tion: From da Vinci’s Sketch­es to Apol­lo 11

1,700 Free Online Cours­es from Top Uni­ver­si­ties

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

‘Tired of Giving In’: The Arrest Report, Mug Shot and Fingerprints of Rosa Parks (December 1, 1955)

Rosa_Parks_Booking_Photo_

On this day in 1955, Rosa Parks took her fate­ful bus ride in Mont­gomery, Alaba­ma.

As the sto­ry is often told, Parks was a diminu­tive African-Amer­i­can seam­stress who was weary from a long day of work at a down­town depart­ment store. Her feet ached, so when the dri­ver ordered her to give up her seat to a white man who had just got­ten on the bus, Parks refused, acci­dent­ly set­ting into motion a series of events that led to the mod­ern Civ­il Rights Move­ment.

The prob­lem with the sto­ry, told in that way, is that it is gross­ly mis­lead­ing.

Besides being a seam­stress, Parks was a polit­i­cal orga­niz­er and activist, a mem­ber of the Mont­gomery Vot­ers League and sec­re­tary of the local chap­ter of the NAACP. And while it’s true that Parks did­n’t know when she board­ed the bus that day that she would com­mit an act of civ­il dis­obe­di­ence, when the moment arose she knew what she was doing, and why. As Parks lat­er wrote in her auto­bi­og­ra­phy:

Peo­ple always say that I did­n’t give up my seat because I was tired, but that isn’t true. I was not tired phys­i­cal­ly, or no more tired than I usu­al­ly was at the end of a work­ing day. I was not old, although some peo­ple have an image of me as being old then. I was forty-two. No, the only tired I was, was tired of giv­ing in.

Rosa_Parks_Fingerprints_

Parks was not the first black per­son to be arrest­ed in 1955 for refus­ing to give up a seat on Mont­gomery’s racial­ly seg­re­gat­ed bus­es. There was a grow­ing sense in the African-Amer­i­can com­mu­ni­ty that the time was ripe for change. The pre­vi­ous year, the U.S. Supreme Court had issued its land­mark deci­sion in Brown v. Board of Edu­ca­tion, declar­ing that seg­re­ga­tion in pub­lic schools was uncon­sti­tu­tion­al.

The Wom­en’s Polit­i­cal Coun­cil in Mont­gomery was already lay­ing the ground­work for a boy­cott of the city bus sys­tem when it learned of Parks’ arrest. Giv­en the respect and sup­port Parks had with­in the com­mu­ni­ty, the group decid­ed it was an oppor­tune moment to take action. A one-day boy­cott was held on the day of Park­s’s tri­al (she was con­vict­ed of vio­lat­ing Chap­ter 6, Sec­tion 11 of the Mont­gomery City Code and ordered to pay a $10 fine plus $4 in court costs) and a longer one was launched short­ly after­ward, crip­pling the finances of the com­pa­ny that ran the bus sys­tem, which typ­i­cal­ly derived over 75 per­cent of its fare rev­enue from African-Amer­i­can pas­sen­gers. That boy­cott last­ed more than a year, until late Decem­ber of 1956, when the Supreme Court upheld a low­er court rul­ing in Brow­der, et al v. Gayle that the seg­re­ga­tion of Mont­gomery’s bus sys­tem was uncon­sti­tu­tion­al.

Rosa_Parks_Arrest_Report_

The doc­u­ments shown here were sub­mit­ted as evi­dence in Brow­der v. Gayle. The arrest report (above) states that Parks was sit­ting in the white sec­tion of the bus. Actu­al­ly, she had com­plied with the law when she first entered, sit­ting down behind the first 10 seats which were per­ma­nent­ly reserved for whites. (See the chart below; the front of the bus is at the top of the chart, with the dri­ver’s seat des­ig­nat­ed by an “X.”) Under Mont­gomery law, the bus dri­ver had the dis­cre­tion to move blacks far­ther back when the white sec­tion filled up. Black peo­ple paid the same fare as whites, but were often ordered to exit the bus after pay­ing the fare and re-enter through the back door. In stand­ing-room-only con­di­tions, they were not allowed even to stand next to white peo­ple.

Rosa_Parks_Bus_Chart_

At rush hour on Dec. 1, 1955, the bus was fill­ing up as Parks and three oth­er African-Amer­i­cans sat in the first row behind the white sec­tion. When a white man entered the bus, the dri­ver James F. Blake ordered Parks and the oth­er three to leave their seats and move back, where they would all have to stand. After hes­i­tat­ing, the oth­ers got up but Parks stayed seat­ed. In The Rebel­lious Life of Mrs. Rosa Parks, Jeanne Theo­haris recon­structs the scene:

Blake want­ed the seats. “I had police pow­ers — any dri­ver did.”  The bus was crowd­ed and the ten­sion height­ened as Blake walked back to her. Refus­ing to assume a def­er­en­tial posi­tion, Parks looked him straight in the eye.

Blake asked, “Are you going to stand up?”

Parks replied, “No.” She then told him she was not going to move  “because I got on first and paid the same fare, and I did­n’t think it was right for me to stand so some­one else who got on lat­er could sit down.”

“Well, I’m going to have you arrest­ed.”

“You may do that,” Parks replied.

via: Nation­al Archives

16,000 Pages of Charles Darwin’s Writing on Evolution Now Digitized and Available Online

Darwin Tree of Life

The Dar­win­ian the­o­ry of evo­lu­tion is an amaz­ing sci­en­tif­ic idea that seems, at least to a layper­son like me, to meet all the cri­te­ria for what sci­en­tists like Ian Glynn praise high­ly as “elegance”—all of them per­haps except one: Sim­plic­i­ty. Evo­lu­tion­ary the­o­ry may seem on its face to be a fair­ly sim­ple expla­na­tion of the facts—all life begins as sin­gle-celled organ­isms, then changes and adapts in response to its envi­ron­ment, branch­ing and devel­op­ing into mil­lions of species over bil­lions of years. But the jour­ney Dar­win took to arrive at this idea was hard­ly straight­for­ward and it cer­tain­ly didn’t arrive in one eure­ka moment of enlight­en­ment.

darwin Notebook D

The process for him took over two decades, rep­re­sent­ed by the hun­dreds of pages of notes he left behind, all of which will be freely avail­able online at the Dar­win Man­u­scripts Project at the Amer­i­can Muse­um of Nat­ur­al His­to­ry in 2015. This means 30,000 dig­i­tized doc­u­ments, like the naturalist’s first “Tree of Life” at the top of the page, from a July 1837 note­book entry, and Trans­mu­ta­tion Note­book D above, the first note­book in which Dar­win began work­ing on the the­o­ry of nat­ur­al selec­tion.

The Muse­um has cur­rent­ly announced that it is a lit­tle over the halfway point, with just over 16,000 dig­i­tized doc­u­ments that cov­er, they write, “the 25-year peri­od in which Dar­win became con­vinced of evo­lu­tion; dis­cov­ered nat­ur­al selec­tion; devel­oped expla­na­tions of adap­ta­tion, spe­ci­a­tion, and a branch­ing tree of life and wrote the Ori­gin [of Species].” Direc­tor of the project David Kohn describes that lat­ter famous work as “the mature fruit of a pro­longed process of sci­en­tif­ic explo­ration and cre­ativ­i­ty that began toward the end of his Bea­gle voy­age… and that con­tin­ued to expand in range and deep­en in con­cep­tu­al rig­or through numer­ous well-marked stages.”

mdb56

Now his­to­ri­ans of sci­ence can trace those stages as though they were a fos­sil record, start­ing with that famous H.M.S. Bea­gle voy­age, in which the young Dar­win sailed from South Amer­i­ca to the Pacif­ic Islands—stopping at numer­ous sites, includ­ing the Gala­pa­gos Islands of course, and col­lect­ing sam­ples and mak­ing obser­va­tions. The jour­ney pro­duced a live­ly account, 1839’s Voy­age of the Bea­gle, pre­lude to the ful­ly devel­oped the­o­ry pre­sent­ed 20 years lat­er in On the Ori­gin of Species. Look­ing into the Bea­gle voy­age sec­tion, you’ll find hun­dreds of pages of notes, like that above on Gala­pa­gos mock­ing­birds. Darwin’s hand­writ­ing will present a chal­lenge, which is why, Hyper­al­ler­gic tells us, the project is “adding tran­scrip­tions and a schol­ar­ly struc­ture to its high-res­o­lu­tion images.”

darwin Children's drawing

Hyper­al­ler­gic also sums up the remain­ing con­tents of the huge archive, which in addi­tion to the Bea­gle mate­r­i­al will fea­ture every­thing “from the rest of his life, which he spent defend­ing his work.” This means “scrib­blings in books he stud­ied, abstracts, his own book drafts, arti­cles and their revi­sions, jour­nals he read, and his note­books on trans­mu­ta­tion.” You’ll also find “some charm­ing odd­i­ties” like draw­ings by the scientist’s chil­dren (above) on the back of orig­i­nal Ori­gin man­u­script pages. Learn much more about the archive, and Darwin’s life­long work, at the Amer­i­can Muse­um of Nat­ur­al History’s Dar­win Man­u­script Project site.

via io9/Hyper­al­ler­gic

Relat­ed Con­tent:

What Did Charles Dar­win Read? See His Hand­writ­ten Read­ing List & Read Books from His Library Online

Read the Orig­i­nal Let­ters Where Charles Dar­win Worked Out His The­o­ry of Evo­lu­tion

Trace Darwin’s Foot­steps with Google’s New Vir­tu­al Tour of the Gala­pa­gos Islands

New Ani­mat­ed Web Series Makes the The­o­ry of Evo­lu­tion Easy to Under­stand

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Crash Course Big History: John Green Teaches Life, the Universe & Everything

If you don’t under­stand big his­to­ry, you’ll nev­er under­stand small his­to­ry. That idea has­n’t yet attained apho­rism sta­tus, but maybe we can get it there. Last month, we fea­tured a free, Bill Gates-fund­ed short course on 13.8 bil­lion years of “Big His­to­ry”. Back in 2012, we fea­tured well-known online edu­ca­tor (and now even bet­ter-known young adult nov­el­ist) John Green’s Crash Course on World His­to­ry. Now these worlds, or rather these his­to­ries of the world, have col­lid­ed in the form of  Crash Course Big His­to­ry, a web series “in which John Green, Hank Green, and Emi­ly Graslie teach you about, well, every­thing.” In true fash­ion of the biggest pos­si­ble his­to­ry, the Crash Course crew begins at the begin­ning — the real begin­ning, the Big Bang, which the first fif­teen-minute episode gets into above.

“Mr. Green! Mr. Green!” exclaims Green at him­self, momen­tar­i­ly tak­ing on his sig­na­ture sec­ondary pushy-stu­dent per­sona. “That’s not his­to­ry, that’s sci­ence.” Return­ing to his cool-pro­fes­sor per­sona, Green lays it out for him­self: “Aca­d­e­mics often describe his­to­ry as, like, all stuff that’s hap­pened since we start­ed writ­ing things down, but they only start there because that’s where we have the best infor­ma­tion. The advent of writ­ing was a huge deal, obvi­ous­ly, but as a start date for his­to­ry, it’s total­ly arbi­trary. It’s just a line we drew in the sand and said, ‘Okay, his­to­ry begins now!’ ” In order to push that line as far back as pos­si­ble, his­to­ry must fuse with sci­ence, allow­ing the study of the past to best incor­po­rate and con­tex­tu­al­ize all it can about (and stu­dents of Green had to know he would quote Dou­glas Adams on this) “Life, the Uni­verse, and Every­thing.”

Sev­en episodes in and under­way right now, Crash Course Big His­to­ry has gone on to cov­er not just the uni­verse, but the sun and the Earth, the emer­gence of life, the epic of evo­lu­tion, and how that process pro­duced humans. Hav­ing arrived at the appear­ance of Homo sapi­ens, Green and com­pa­ny cov­er, in the fresh­ly released sev­enth episode, the process of “human­i­ty con­quer­ing the Earth. Or at least mov­ing from Africa into the rest of the Earth,” going on to reach “a crit­i­cal mass of inno­va­tors” and devel­op “col­lec­tive learn­ing.” And amid the grand sweep of plan­e­tary move­ment, evo­lu­tion, and mass migra­tion, we con­tin­ue to find new ways to col­lec­tive­ly learn all the time — of which the Crash Cours­es rep­re­sent only one par­tic­u­lar­ly enter­tain­ing vari­ety.

You can watch future Crash Course Big His­to­ry videos by fol­low­ing this playlist on Youtube. It’s also worth men­tion­ing that Bill Gates has helped fund these Crash Course videos, just as he has helped fund the larg­er Big His­to­ry Project men­tioned in our pre­vi­ous post.

Relat­ed Con­tent:

Take Big His­to­ry: A Free Short Course on 13.8 Bil­lion Years of His­to­ry, Fund­ed by Bill Gates

A Crash Course in World His­to­ry

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

Free Down­load of The His­to­ry Man­i­festo: His­to­ri­ans New Call for Big-Pic­ture Think­ing

Down­load 78 Free Online His­to­ry Cours­es: From Ancient Greece to The Mod­ern World

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

George Orwell’s Final Warning: Don’t Let This Nightmare Situation Happen. It Depends on You!

More than 60 years after his death and the close­ly pre­ced­ing pub­li­ca­tion of his best-known nov­el 1984, we look to George Orwell as a kind of prophet of the ills of cor­po­ratism, social­ism, author­i­tar­i­an­ism, total­i­tar­i­an­ism — any pow­er­ful ‑ism, essen­tial­ly, in which we can find nasty, free­dom-destroy­ing impli­ca­tions. The BBC doc­u­men­tary Orwell: A Life in Pic­tures, which we fea­tured a few years back, makes a point of high­light­ing Orwell’s “warn­ing” to what he saw as a fast corporatizing/socializing/authoriatarianizing/totalitarianizing world. In the film’s final dra­ma­tized scene above (watch the com­plete film here), the re-cre­at­ed Orwell him­self makes the fol­low­ing omi­nous pre­dic­tion:

Allow­ing for the book, after all, being a par­o­dy, some­thing like 1984 could actu­al­ly hap­pen. This is the direc­tion the world is going in at the present time. In our world, there will be no emo­tions except fear, rage, tri­umph, and self-abase­ment. The sex instinct will be erad­i­cat­ed. We shall abol­ish the orgasm. There will be no loy­al­ty except loy­al­ty to the Par­ty. But always there will be the intox­i­ca­tion of pow­er. Always, at every moment, there will be the thrill of vic­to­ry, the sen­sa­tion of tram­pling on an ene­my who’s help­less. If you want a pic­ture of the future, imag­ine a boot stamp­ing on a human face, for­ev­er. The moral to be drawn from this dan­ger­ous night­mare sit­u­a­tion is a sim­ple one: don’t let it hap­pen. It depends on you.

This fic­tion­al­ized Orwell — much like the real Orwell — does­n’t mince words. But as with most unminced words, these mask a more com­pli­cat­ed real­i­ty. Though Orwell fans may find each indi­vid­ual piece of this speech rec­og­niz­able, espe­cial­ly the bit about the boot and the face, the man him­self nev­er spoke it — not in this form, any­way.

It mix­es doc­u­ment­ed state­ments of Orwell’s with words from the text of 1984, and its dra­mat­ic clos­er [“Don’t let it hap­pen. It depends on you!”] comes, as writes Barnes and Noble’s Steve King, from a post-pub­li­ca­tion press release direct­ed by pub­lish­er Fredric War­burg toward read­ers who “had mis­in­ter­pret­ed [Orwell’s] aim, tak­ing the nov­el as a crit­i­cism of the cur­rent British Labour Par­ty, or of con­tem­po­rary social­ism in gen­er­al.” The quo­ta­tion from the press release was “soon giv­en the sta­tus of a last state­ment or deathbed appeal, giv­en that Orwell was hos­pi­tal­ized at the time and dead six months lat­er.”

You can read more at georgeorwellnovels.com, which pro­vides a great deal of con­text on this press release, which runs, in full, as fol­lows:

It has been sug­gest­ed by some of the review­ers of Nine­teen Eighty-Four that it is the author’s view that this, or some­thing like this, is what will hap­pen inside the next forty years in the West­ern world. This is not cor­rect. I think that, allow­ing for the book being after all a par­o­dy, some­thing like Nine­teen Eighty-Four could hap­pen. This is the direc­tion in which the world is going at the present time, and the trend lies deep in the polit­i­cal, social and eco­nom­ic foun­da­tions of the con­tem­po­rary world sit­u­a­tion.

Specif­i­cal­ly the dan­ger lies in the struc­ture imposed on Social­ist and on Lib­er­al cap­i­tal­ist com­mu­ni­ties by the neces­si­ty to pre­pare for total war with the U.S.S.R. and the new weapons, of which of course the atom­ic bomb is the most pow­er­ful and the most pub­li­cized. But dan­ger lies also in the accep­tance of a total­i­tar­i­an out­look by intel­lec­tu­als of all colours.

The moral to be drawn from this dan­ger­ous night­mare sit­u­a­tion is a sim­ple one: Don’t let it hap­pen. It depends on you.

George Orwell assumes that if such soci­eties as he describes in Nine­teen Eighty-Four come into being there will be sev­er­al super states. This is ful­ly dealt with in the rel­e­vant chap­ters of Nine­teen Eighty-Four. It is also dis­cussed from a dif­fer­ent angle by James Burn­ham in The Man­age­r­i­al Rev­o­lu­tion. These super states will nat­u­ral­ly be in oppo­si­tion to each oth­er or (a nov­el point) will pre­tend to be much more in oppo­si­tion than in fact they are. Two of the prin­ci­pal super states will obvi­ous­ly be the Anglo-Amer­i­can world and Eura­sia. If these two great blocks line up as mor­tal ene­mies it is obvi­ous that the Anglo-Amer­i­cans will not take the name of their oppo­nents and will not dra­ma­tize them­selves on the scene of his­to­ry as Com­mu­nists. Thus they will have to find a new name for them­selves. The name sug­gest­ed in Nine­teen Eighty-Four is of course Ing­soc, but in prac­tice a wide range of choic­es is open. In the U.S.A. the phrase “Amer­i­can­ism” or “hun­dred per cent Amer­i­can­ism” is suit­able and the qual­i­fy­ing adjec­tive is as total­i­tar­i­an as any­one could wish.

If there is a fail­ure of nerve and the Labour par­ty breaks down in its attempt to deal with the hard prob­lems with which it will be faced, tougher types than the present Labour lead­ers will inevitably take over, drawn prob­a­bly from the ranks of the Left, but not shar­ing the Lib­er­al aspi­ra­tions of those now in pow­er. Mem­bers of the present British gov­ern­ment, from Mr. Attlee and Sir Stafford Cripps down to Aneurin Bevan will nev­er will­ing­ly sell the pass to the ene­my, and in gen­er­al the old­er men, nur­tured in a Lib­er­al tra­di­tion, are safe, but the younger gen­er­a­tion is sus­pect and the seeds of total­i­tar­i­an thought are prob­a­bly wide­spread among them. It is invid­i­ous to men­tion names, but every­one could with­out dif­fi­cul­ty think for him­self of promi­nent Eng­lish and Amer­i­can per­son­al­i­ties whom the cap would fit.

Read­ers can still find plen­ty to quib­ble with in Orwell, but sure­ly that counts as a point toward his sta­tus as an endur­ing­ly fas­ci­nat­ing writer. The les­son, how­ev­er much we may mis­in­ter­pret its deliv­ery — and indeed, how much Orwell him­self may some­times seem to mis­de­liv­er it — holds steady: don’t let it hap­pen. How not to let it hap­pen, of course, remains a mat­ter of active inquiry.

Relat­ed Con­tent:

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

For 95 Min­utes, the BBC Brings George Orwell to Life

The Only Known Footage of George Orwell (Cir­ca 1921)

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

George Orwell’s Five Great­est Essays (as Select­ed by Pulitzer-Prize Win­ning Colum­nist Michael Hiltzik)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Shelf Life: American Museum of Natural History Creates New Video Series on Its 33 Million Artifacts

I once spent a sum­mer as a secu­ri­ty guard at the Children’s Muse­um of Indi­anapo­lis. A won­der­ful place to vis­it, but my work­day expe­ri­ence proved dread­ful­ly dull. By far the high­light was being pulled off what­ev­er exhib­it I hap­pened to be guard­ing to assist in col­lec­tions, a cav­ernous back­stage area where untold trea­sures were shelved with­out cer­e­mo­ny. The head con­ser­va­tor con­fid­ed that many of these items would nev­er be sin­gled out for dis­play. The thrift store egal­i­tar­i­an­ism that reigned here was far more appeal­ing than the eye-catch­ing, edu­ca­tion­al sig­nage in the pub­lic area. From the obliv­ion of deep stor­age springs the poten­tial for dis­cov­ery.

How grat­i­fy­ing to learn that the 200 plus sci­en­tists employed by the Amer­i­can Muse­um of Nat­ur­al His­to­ry feel the same. As palen­tol­o­gist Mike Novacek, puts it in Shelf Life, the museum’s just launched month­ly video series:

You can make new dis­cov­er­ies in Col­lec­tions just like you can out in the field. You can walk around the cor­ner and see some­thing that no one’s quite observed that way before, describe a new species or a new fea­ture that’s impor­tant to sci­ence.

The insti­tu­tion can choose from among more than 33,430,000 good­ies, from ancient objects they’ve been care­ful­ly tend­ing for more than two cen­turies to the sam­ples of frozen tis­sue and DNA com­pris­ing the bare­ly 13-year-old Ambrose Mon­ell Cryo Col­lec­tion for Mol­e­c­u­lar and Micro­bial Research.

Gems and mete­orites!

Arrow­heads and gourds!

Ver­te­brates and inver­te­brates!

There’s tru­ly some­thing here for…

WaspsFinalFlat

Wasp enthu­si­asts (you know who you are) can thrill to the sev­en and a half mil­lion spec­i­mens in sex researcher Alfred Kinsey’s Cynip­i­dae col­lec­tion. (They’re ready for their close up, Mr. DeMille. Famous as they are, the first episode passed them over in favor of a more pho­to­genic mock bee from the genus Criorhi­na.)

Future episodes will call upon in-house ichthy­ol­o­gists, pale­on­tol­o­gists, anthro­pol­o­gists, astro­physi­cists, and her­petol­o­gists to dis­cuss such top­ics as spec­i­men prepa­ra­tion, tax­on­o­my, and cura­tion. Stay abreast (and — bonus!- cel­e­brate Nero’s birth­day with tur­tles) by sub­scrib­ing to the museum’s youtube chan­nel.

Relat­ed Con­tent:

A Panoram­ic Vir­tu­al Tour of the Smith­son­ian Nation­al Muse­um of Nat­ur­al His­to­ry

Down­load the Uni­verse: A Dis­cern­ing Cura­tor for Sci­ence eBooks

How to Make a Mum­my — Demon­strat­ed by The Get­ty Muse­um

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She goes into more detail about her short-lived stint as a muse­um secu­ri­ty guard in her third book, Job Hop­per. Fol­low her @AyunHalliday

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